AS Katoch, dream researcher

@askatoch.com

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AS Katoch, Dream Winged Gaja-simha. 14:44, 22 March 2025. Himachal Pradesh, India. Dream Image: The Winged Elephant-Lion (Gaja-simha) A white elephant-lion with golden wings appeared before me. It is called a gaja-simha in Indian culture. It looked at me from its side. Then, the hybrid creature turned its elephant head toward me, looking directly into my eyes with deliberate intention. Its body was that of a lion covered in white hair, while elegant golden wings emerged from its hindquarters. A blue sky stretched behind it. It was walking on green grass. The dream then focused on a close-up of the gaja-simha's face and eyes as if it wanted me to know it recognises me.
A FOLIO FROM THE MEWAR SAKUNAVALI (BOOK OF OMENS) MEWAR, CIRCA 1720 Opaque watercolor on paper; Image: 7 1/2 x 6 3/4 in. (19 x 17.1 cm); Folio: 10 x 8 1/4 in. (25.4 x 21 cm) Footnotes A handbook for interpreting dreams, the Sakunavali was a unique commission from the Mewar court. It promised to unveil the mysteries of seemingly inexplicable phenomena. Described in the text above, this omen of a tree full of parrots (in front of a night sky and behind a lotus pool) is one of the most auspicious one could receive: For good fortune and financial gains, a progeny is also promised for constant prosperity and foreign travel, pay homage in the direction of the parrots (34).
SURYA NARAYANA (THE SUN GOD) POSSIBLY BASOHLI OR GULER, PUNJAB HILLS, NORTH INDIA, CIRCA 1740-50 Opaque pigments heightened with gold on paper, Surya Narayana kneeling in full regalia, holding the chakra and the conch, at the centre of a radiating sun, on dark blue ground This rare and fine depiction of Surya (the Sun God) seated in a resplendent golden orb combines his characteristics with those of Vishnu (or Narayana). Like Vishnu, Surya wears a peacock feather in his crown and holds a conch shell and chakra (discus) in his hands. The Sun God is usually depicted holding a lotus flower in both hands, seated in a chariot being pulled by one and sometimes seven horses. The intense blue of the background makes the radiating orb even more luminous. Our painting finds close comparison with a painting from a Bhagavata Purana series, dated to circa 1740-45, and attributed by B.N. Goswamy to the master artist Manaku of Guler. This painting is now in the collection of the Museum of Arts and Sciences, Daytona Beach, Florida (acc.no.89.16.690.04; Goswamy, 2017, C63, pp.182-183). The Bhagavata Purana folio depicts Dhruva, the pole star, as a youthful king carrying a bow and arrow, with a shield beneath his arm, seated under a canopy in a pavilion, within a very similar golden circle emanating tiny little rays, with a dark blackish-blue surround. Manaku has established a link with Vishnu by adding the Vishnu pada (footprints of Vishnu) outside the circle but still in close proximity to the star.
002: The Divinatory Ethics of Imbuement - Awe and Wonder as Luminous Acts of Grace in Divination Image: Caspar David Friedrich, Mountain Landscape with Rainbow. 1809-10.
A soft photograph of myself illuminated by red, rose, mango, yellow, and lime-colored lights. I am wearing a white lotus silk shawl, my black hair oiled back with a few strands falling free, and I have a goatee. The lighting creates a warm, ethereal glow.
001: Must I write? Following the Lodestar of Necessity. The image is Odilon Redon's Tete d'Astral. 1905.
These images show views of Earth and the moon from NASA's Cassini (left) and MESSENGER spacecraft (right) from July 19, 2013. (Image credit: NASA/JPL-Caltech/Space Science Institute and NASA/Johns Hopkins University Applied Physics Laboratory/Carnegie Institution of Washington) NASA has unveiled spectacular portraits of Earth and its moon from billions of miles away in images captured on Friday (July 19) and released today by the teams behind the agency's Cassini spacecraft at Saturn and its Messenger probe at Mercury. In the photos from Saturn, Earth appears as a tiny pinprick of light amid the haunting rings and glowing sphere of Saturn, which Cassini has been orbiting since 2004. Though the picture doesn't show it, more than 20,000 people on Earth waved at Saturn at just the time the photo was taken, as NASA had coordinated a plan to involve as many Earthlings as possible in the portrait. In Messenger's portrait, Earth and its moon are both easily visible, though each is just a point of light. The photo was taken from orbit around Mercury, 61 million miles (98 million kilometers) away. "That images of our planet have been acquired on a single day from two distant solar system outposts reminds us of this nation's stunning technical accomplishments in planetary exploration," Messenger principal investigator Sean Solomon of Columbia University's Lamont-Doherty Earth Observatory in Palisades, N.Y., said in a statement. "And because Mercury and Saturn are such different outcomes of planetary formation and evolution, these two images also highlight what is special about Earth. There's no place like home."
A Spanish cover of Gustav Moreau's artwork featuring an cherub and god with floral wreath and purple block. I chose this image as it's dreamy, reminds me of the Greek gods Castor, and the colour I associate with him and his St. Elmo's fire! "Gustave Moreau y su legado: Octubre de 1994 - enero de 1995"
1. Freischwimmer Series (2003): Alt text: A fluid, swirling abstraction of light and dark tones created through photographic chemicals in the darkroom. This image captures emergence and formless potential, resonating with astrology and queer futurity’s embrace of what is “not yet,” as described by Tillmans. 2. The Cock’s Kiss (2002): Alt text: Two young men share a tender kiss, one gently holding the other’s head. This intimate and subversive act celebrates queer connection and defiance against normative structures, reflecting Muñoz’s call to dream of new worlds and the aesthetic radicality of queer desire. 3. In Flight Astro (II) (2010): Alt text: A serene twilight sky viewed from an airplane window, stars faintly visible above the horizon. This photograph evokes vastness, possibility, and the cosmic ties to astrology and dreaming, echoing queer futurity’s expansive reimagining of time and space. 4. Venus Transit from the Silver Installation (2012): Alt text: The rare sight of Venus transiting the Sun, its silhouette a small black dot against a luminous surface. Captured by Tillmans, this celestial alignment symbolizes cycles of transformation and the utopian possibility of new alignments, central to astrology and queer aesthetics. Each image offers a distinct yet interconnected perspective on the themes of queerness, futurity, and hope, complementing your posts’ exploration of these ideas.
Van Gogh’s The Red Vineyard, the only painting confirmed as sold during his lifetime, depicts workers harvesting under a fiery sunset. The vivid red and gold hues evoke themes of labour, transformation, and illumination. This resonates with Gibran’s words, “Your pain is the breaking of the shell that encloses your understanding,” and the Krittika Full Moon’s call to confront fears and embrace suppressed truths. The vineyard workers’ toil mirrors the spiritual journey of breaking through inner barriers, while the radiant light signifies the creativity and life force that arise through struggle. Agni, the star of Krittika, is embodied in the painting’s burning tones, symbolising purification and alignment with truth. The significance of this work as Van Gogh’s sole confirmed sale underscores its connection to persistence and the bittersweet fruits of one’s labour, encapsulating the alchemy of pain into creation and self-expression.
Giorgio Ghisi (Italian, 1520/21-1582) Allegorical Figure Holding a Sphere, mid-1560s Engraving. Scholars disagree about the identity of this allegorical personification. She has been variously described as Victory, Fortune, Temperance, and the Primum Mobile (Prime Mover), believed to be a force that generated celestial motion. A beautiful engraving of a strongly feminine winged figure with muscular arms holding a sphere looking to the left. This image came to mind as it represents, for me, the Kurios, as both an astrological planet and a daimon. The personal daimon, as described by Demetra George, was understood in the Hellenistic period, as a spirit guide who descends into the body and unites with the soul. Similar to a voice of conscience, it urges a person to express their most virtuous behaviour and thereby enables the attainment of one's highest potential–the fulfilment of the life purpose or destiny. When Porphyry gave his instructions for the determination of the Lord of the Nativity, Demetra George sensed that it was the Kurios that he was trying to discover.
The Lot of Dreams: Klēros Onēiron An oracular point in the astrological chart, illuminating dreams and their divinatory potential. Revived by dream researcher AS Katoch, this medieval astrological lot invites us to inhabit dreams fully, transforming them into agents of self-awareness and change—not mere reflections for the Ego but portals to deeper soul understanding. Astrologer Jessica Irene reflects in her work with the Lot of Dreams as speaking to ‘the multifacetedness of dreams over one’s lifetime - perhaps the vastness of a soul’s understanding of time, rather than our human perception - the stories and dramas of desires and wishes and prophecy they foretell, perchance we dream. The lot has connotations of wish fulfillment, as much as they are initiatory, working, participatory.’
Wearing a white Lacoste Paris polo with black hair slicked back and tan skin with goatee, looking straight into camera with tree-lined river, park and blue sky and clouds behind me.